From Transformers to The Martian, Hollywood films are looking to China's massive audiences.
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Cinema of China

Cinema was introduced in China in 1896 and the first Chinese film, The Battle of Dingjunshan, was made in 1905, with the film industry being centered on Shanghai in the first decades. The first sound film, Sing-Song Girl Red Peony, using the sound-on-disc technology, was made in 1931. The 1930s, considered the first "golden period" of Chinese cinema, saw the advent of the Leftist cinematic movement and the dispute between Nationalists and Communists was reflected in the films produced. After the Japanese invasion of China and the occupation of Shanghai, the industry in the city was severely curtailed, with filmmakers moving to Hong Kong, Chongqing and other places, starting a "Solitary Island" period in Shanghai, referring to the city's foreign concessions, with the remaining filmmakers working there. Princess Iron Fan (1941), the first Chinese animated feature film, was released at the end of this period. It influenced wartime Japanese animation and later Tezuka Osamu. After being completely engulfed by the occupation in 1941, and until the end of the war in 1945, the film industry in the city was under Japanese control.

Film

A film, also called a movie, motion picture or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon.
This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession. A film is created by photographing actual scenes with a motion picture camera; by photographing drawings or miniature models using traditional animation techniques; by means of CGI and computer animation; or by a combination of some or all of these techniques and other visual effects. The word "cinema", short for cinematography, is often used to refer to the industry of films and filmmaking or to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations.

Chinese martial arts

Chinese martial arts, often labeled under the umbrella termsKung Fu (/ˈkʊŋˈfuː/; Chinese:功夫; pinyin:gong fu) and Wushu (武术), are the several hundreds of fighting styles that have developed over the centuries in China. These fighting styles are often classified according to common traits, identified as "families" (家; jiā), "sects" (派; pài) or "schools" (門; mén) of martial arts. Examples of such traits include Shaolinquan (少林拳) physical exercises involving Five Animals (五形) mimicry, or training methods inspired by Chinese philosophies, religions and legends. Styles that focus on qi manipulation are called internal (内家拳; nèijiāquán), while others that concentrate on improving muscle and cardiovascular fitness are called "external" (外家拳; wàijiāquán). Geographical association, as in northern (北拳; běiquán) and "southern" (南拳; nánquán), is another popular classification method.

Terminology

Kung fu and wushu are loanwords from Chinese that, in English, are used to refer to Chinese martial arts. However, the Chinese terms kung fu and wushu (listen (Mandarin); Cantonese: móuh-seuht) have distinct meanings. The Chinese equivalent of the term "Chinese martial arts" would be Zhongguo wushu (Chinese:中國武術; pinyin:zhōngguó wǔshù) (Mandarin).

Although the term martial art has become associated with the fighting arts of eastern Asia, it originally referred to the combat systems of Europe as early as the 1550s. The term is derived from Latin, and means "arts of Mars", the Roman god of war. Some authors have argued that fighting arts or fighting systems would be more appropriate on the basis that many martial arts were never "martial" in the sense of being used or created by professional warriors.

Variation and scope

Martial arts may be categorized along a variety of criteria, including:

How China is changing Hollywood

From Transformers to The Martian, Hollywood films are looking to China's massive audiences.
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Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com to get up to speed on everything from Kurdistan to the Kim Kardashian app.
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How China is changing Hollywood

From Transformers to The Martian, Hollywood films are looking to China's massive audiences.
Subscribe to our channel! http://goo.gl/0bsAjO
Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com to get up to speed on everything from Kurdistan to the Kim Kardashian app.
Check out our full video catalog: http://goo.gl/IZONyE
Follow Vox on Twitter: http://goo.gl/XFrZ5H
Or on Facebook: http://goo.gl/U2g06o

From Transformers to The Martian, Hollywood films are looking to China's massive audiences.
Subscribe to our channel! http://goo.gl/0bsAjO
Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com to get up to speed on everything from Kurdistan to the Kim Kardashian app.
Check out our full video catalog: http://goo.gl/IZONyE
Follow Vox on Twitter: http://goo.gl/XFrZ5H
Or on Facebook: http://goo.gl/U2g06o

From Transformers to The Martian, Hollywood films are looking to China's massive audiences.
Subscribe to our channel! http://goo.gl/0bsAjO
Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com to get up to speed on everything from Kurdistan to the Kim Kardashian app.
Check out our full video catalog: http://goo.gl/IZONyE
Follow Vox on Twitter: http://goo.gl/XFrZ5H
Or on Facebook: http://goo.gl/U2g06o

Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie

BestActionMovies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie

published: 20 Dec 2016

New Chinese Action Movies 2018 - Best Chinese Movies Full Length English Subtitles

A film by Stanley Kwan with guest stars appearing as themselves: Chang Cheh, Ang Lee, Leslie Cheung, Chen Kaige, Tsui Hark, Hou Hsiao-Hsien.....
*Edit note*
24.21: Alex Law the director the TV version of this story in 1982 & his film had that ending
English subtitles: Khue Nguyen
Vietnamese edition: https://youtu.be/pXUxZ1LuKw0
----------
True to the project’s intention of providing a personal rather than academic view of world cinema, Hong Kong director Stanley Kwan takes family and sexuality as his starting points in considering film from the three Chinas in “Yang + Yin: Gender in Chinese Cinema,” the Sino entry in the British Film Institute’s “Century of Cinema” series. Focusing primarily on homosexuality, gender-bending and father figures, this absorbing, at times analytical treatise should figure widely in fests, on TV and in gay film forums.
Dividing his reflections into six chapters, Kwan begins by recalling his first trip with his father to a bathhouse (memories evoked in his 1991 feature, “Actress”) and his first sight of naked male bodies. Over family photos, he describes being forced, by lack of space, to share a bed with his father, and the lingering memory of the look and smell of his body.
Growing up in Hong Kong, Kwan became fascinated with the man-to-man bonds depicted in martial arts films and their displays of male bodies in action. He seeks out the homoerotic undertones of swordplay pics of the 1960s and ’70s, speaking to prolific director Chang Cheh about the sexual symbolism of knives and swords and the virtual exclusion of women from these stories. He poses similar questions to Chang’s former assistant, John Woo, about the celebration of male bonding in his gangster films. While Woo admits that any homoerotic charge is unintentional, he acknowledges that were he to depict the same kind of male relationships in his Hollywood features, he would be forced to work outside the mainstream.
Backtracking to mainland Chinese films of the 1930s, Kwan looks at images of masculinity in Shanghai productions of the period in particular, the sexual frankness of Ma-Xu Weibang’s films. Creating a link from the director’s 1937 “Song at Midnight” to a recent remake starring Leslie Cheung, Kwan grills the actor about his frequent casting as an effeminate narcissist. This leads to detailed consideration of Cheung’s role in “Farewell My Concubine,” and the charges of homophobia against director Chen Kaige for his diluting of the novel’s gay themes.
Chapter three returns to patriarchal figures as its subject, interviewing directors including Hou Hsiao-Hsien, Tsai Ming-Liang, Edward Yang and Ang Lee on their relationships with their fathers and how this is reflected in their films. Cross-dressing and sexual conundrums in Tsui Hark’s films come under scrutiny, with actress Brigitte Lin pushing the boundaries by playing women who pass themselves off as men or who were men in past lives. Actor Cheung comments that it remains more acceptable in China for women to portray male characteristics than vice versa.
This links to the docu’s closing segment, in which Kwan reins the focus back into the purely personal. Looking at a female star duo who became popular through Cantonese opera pics of the 1950s, and formed a couple onscreen and off, Kwan quizzes his mother about her acceptance of Yam Kin-Fai, one of the actresses, as a man. Her comments on open-mindedness and tradition prompt the director to ask if she accepts his own relationship with a man.
Changing attitudes and family structures are main concerns of Kwan, leading to something of a concentration on cinema of the past decade. The comparative openness of Hong Kong and Taiwanese productions to these themes also means that these industries are better represented by clips and interviews than mainland Chinese productions. But the documentary in no way purports to be a true history of Chinese cinema, merely one aspect of it.
Considering what visual stylists both the director and cinematographer Christopher Doyle are, the film has a rather standard documentary look, and despite its highly personal nature, Kwan’s approach is a little dry at times. More inventive cross-cutting between the various strands and subjects could perhaps have lessened the enterprise’s dissertation feel. But the material remains fascinating, and should spark as much interest from scholars of sexual politics as from Chinese cinema pundits.
(Source from Variety: http://variety.com/1996/film/reviews/yang-yin-gender-in-chinese-cinema-1200446532/)

A film by Stanley Kwan with guest stars appearing as themselves: Chang Cheh, Ang Lee, Leslie Cheung, Chen Kaige, Tsui Hark, Hou Hsiao-Hsien.....
*Edit note*
24.21: Alex Law the director the TV version of this story in 1982 & his film had that ending
English subtitles: Khue Nguyen
Vietnamese edition: https://youtu.be/pXUxZ1LuKw0
----------
True to the project’s intention of providing a personal rather than academic view of world cinema, Hong Kong director Stanley Kwan takes family and sexuality as his starting points in considering film from the three Chinas in “Yang + Yin: Gender in Chinese Cinema,” the Sino entry in the British Film Institute’s “Century of Cinema” series. Focusing primarily on homosexuality, gender-bending and father figures, this absorbing, at times analytical treatise should figure widely in fests, on TV and in gay film forums.
Dividing his reflections into six chapters, Kwan begins by recalling his first trip with his father to a bathhouse (memories evoked in his 1991 feature, “Actress”) and his first sight of naked male bodies. Over family photos, he describes being forced, by lack of space, to share a bed with his father, and the lingering memory of the look and smell of his body.
Growing up in Hong Kong, Kwan became fascinated with the man-to-man bonds depicted in martial arts films and their displays of male bodies in action. He seeks out the homoerotic undertones of swordplay pics of the 1960s and ’70s, speaking to prolific director Chang Cheh about the sexual symbolism of knives and swords and the virtual exclusion of women from these stories. He poses similar questions to Chang’s former assistant, John Woo, about the celebration of male bonding in his gangster films. While Woo admits that any homoerotic charge is unintentional, he acknowledges that were he to depict the same kind of male relationships in his Hollywood features, he would be forced to work outside the mainstream.
Backtracking to mainland Chinese films of the 1930s, Kwan looks at images of masculinity in Shanghai productions of the period in particular, the sexual frankness of Ma-Xu Weibang’s films. Creating a link from the director’s 1937 “Song at Midnight” to a recent remake starring Leslie Cheung, Kwan grills the actor about his frequent casting as an effeminate narcissist. This leads to detailed consideration of Cheung’s role in “Farewell My Concubine,” and the charges of homophobia against director Chen Kaige for his diluting of the novel’s gay themes.
Chapter three returns to patriarchal figures as its subject, interviewing directors including Hou Hsiao-Hsien, Tsai Ming-Liang, Edward Yang and Ang Lee on their relationships with their fathers and how this is reflected in their films. Cross-dressing and sexual conundrums in Tsui Hark’s films come under scrutiny, with actress Brigitte Lin pushing the boundaries by playing women who pass themselves off as men or who were men in past lives. Actor Cheung comments that it remains more acceptable in China for women to portray male characteristics than vice versa.
This links to the docu’s closing segment, in which Kwan reins the focus back into the purely personal. Looking at a female star duo who became popular through Cantonese opera pics of the 1950s, and formed a couple onscreen and off, Kwan quizzes his mother about her acceptance of Yam Kin-Fai, one of the actresses, as a man. Her comments on open-mindedness and tradition prompt the director to ask if she accepts his own relationship with a man.
Changing attitudes and family structures are main concerns of Kwan, leading to something of a concentration on cinema of the past decade. The comparative openness of Hong Kong and Taiwanese productions to these themes also means that these industries are better represented by clips and interviews than mainland Chinese productions. But the documentary in no way purports to be a true history of Chinese cinema, merely one aspect of it.
Considering what visual stylists both the director and cinematographer Christopher Doyle are, the film has a rather standard documentary look, and despite its highly personal nature, Kwan’s approach is a little dry at times. More inventive cross-cutting between the various strands and subjects could perhaps have lessened the enterprise’s dissertation feel. But the material remains fascinating, and should spark as much interest from scholars of sexual politics as from Chinese cinema pundits.
(Source from Variety: http://variety.com/1996/film/reviews/yang-yin-gender-in-chinese-cinema-1200446532/)

published:10 Jul 2017

views:1586

back

Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie

BestActionMovies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie

BestActionMovies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie

published:20 Dec 2016

views:3195022

back

New Chinese Action Movies 2018 - Best Chinese Movies Full Length English Subtitles

How China is changing Hollywood

From Transformers to The Martian, Hollywood films are looking to China's massive audiences.
Subscribe to our channel! http://goo.gl/0bsAjO
Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com to get up to speed on everything from Kurdistan to the Kim Kardashian app.
Check out our full video catalog: http://goo.gl/IZONyE
Follow Vox on Twitter: http://goo.gl/XFrZ5H
Or on Facebook: http://goo.gl/U2g06o

1:03

A Century of Chinese Cinema

An unprecedented celebration of Chinese cinema at the BFI Southbank. http://www.bfi.org.uk...

[Documentary] Yang ± Yin: Gender in Chinese Cinema (1997)

A film by Stanley Kwan with guest stars appearing as themselves: Chang Cheh, Ang Lee, Leslie Cheung, Chen Kaige, Tsui Hark, Hou Hsiao-Hsien.....
*Edit note*
24.21: Alex Law the director the TV version of this story in 1982 & his film had that ending
English subtitles: Khue Nguyen
Vietnamese edition: https://youtu.be/pXUxZ1LuKw0
----------
True to the project’s intention of providing a personal rather than academic view of world cinema, Hong Kong director Stanley Kwan takes family and sexuality as his starting points in considering film from the three Chinas in “Yang + Yin: Gender in Chinese Cinema,” the Sino entry in the British Film Institute’s “Century of Cinema” series. Focusing primarily on homosexuality, gender-bending and father figures, this absorbing, at times analytical treatise should figure widely in fests, on TV and in gay film forums.
Dividing his reflections into six chapters, Kwan begins by recalling his first trip with his father to a bathhouse (memories evoked in his 1991 feature, “Actress”) and his first sight of naked male bodies. Over family photos, he describes being forced, by lack of space, to share a bed with his father, and the lingering memory of the look and smell of his body.
Growing up in Hong Kong, Kwan became fascinated with the man-to-man bonds depicted in martial arts films and their displays of male bodies in action. He seeks out the homoerotic undertones of swordplay pics of the 1960s and ’70s, speaking to prolific director Chang Cheh about the sexual symbolism of knives and swords and the virtual exclusion of women from these stories. He poses similar questions to Chang’s former assistant, John Woo, about the celebration of male bonding in his gangster films. While Woo admits that any homoerotic charge is unintentional, he acknowledges that were he to depict the same kind of male relationships in his Hollywood features, he would be forced to work outside the mainstream.
Backtracking to mainland Chinese films of the 1930s, Kwan looks at images of masculinity in Shanghai productions of the period in particular, the sexual frankness of Ma-Xu Weibang’s films. Creating a link from the director’s 1937 “Song at Midnight” to a recent remake starring Leslie Cheung, Kwan grills the actor about his frequent casting as an effeminate narcissist. This leads to detailed consideration of Cheung’s role in “Farewell My Concubine,” and the charges of homophobia against director Chen Kaige for his diluting of the novel’s gay themes.
Chapter three returns to patriarchal figures as its subject, interviewing directors including Hou Hsiao-Hsien, Tsai Ming-Liang, Edward Yang and Ang Lee on their relationships with their fathers and how this is reflected in their films. Cross-dressing and sexual conundrums in Tsui Hark’s films come under scrutiny, with actress Brigitte Lin pushing the boundaries by playing women who pass themselves off as men or who were men in past lives. Actor Cheung comments that it remains more acceptable in China for women to portray male characteristics than vice versa.
This links to the docu’s closing segment, in which Kwan reins the focus back into the purely personal. Looking at a female star duo who became popular through Cantonese opera pics of the 1950s, and formed a couple onscreen and off, Kwan quizzes his mother about her acceptance of Yam Kin-Fai, one of the actresses, as a man. Her comments on open-mindedness and tradition prompt the director to ask if she accepts his own relationship with a man.
Changing attitudes and family structures are main concerns of Kwan, leading to something of a concentration on cinema of the past decade. The comparative openness of Hong Kong and Taiwanese productions to these themes also means that these industries are better represented by clips and interviews than mainland Chinese productions. But the documentary in no way purports to be a true history of Chinese cinema, merely one aspect of it.
Considering what visual stylists both the director and cinematographer Christopher Doyle are, the film has a rather standard documentary look, and despite its highly personal nature, Kwan’s approach is a little dry at times. More inventive cross-cutting between the various strands and subjects could perhaps have lessened the enterprise’s dissertation feel. But the material remains fascinating, and should spark as much interest from scholars of sexual politics as from Chinese cinema pundits.
(Source from Variety: http://variety.com/1996/film/reviews/yang-yin-gender-in-chinese-cinema-1200446532/)

1:37:52

Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie

Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action ...

Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie

BestActionMovies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie
Best Action Movies 2017 Chinese Movies in English With Subtitles Full Movie

1:28:50

New Chinese Action Movies 2018 - Best Chinese Movies Full Length English Subtitles

New Scary Action Movie 2017 High Rating Hollywood ...

HOT Action Movies 2018 - BEST Chinese Movie With E...

It turns out that a theory explaining how we might detect parallel universes and prediction for the end of the world was proposed and completed by physicist Stephen Hawking shortly before he died ... &nbsp;. According to reports, the work predicts that the universe would eventually end when stars run out of energy ... ....

In another blow to the Trump administration Monday, the US Supreme Court decided Arizona must continue to issue state driver’s licenses to so-called Dreamer immigrants and refused to hear an effort by the state to challenge the Obama-era program that protects hundreds of thousands of young adults brought into the country illegally as children, Reuters reported ... – WN.com. Jack Durschlag....

Britain’s Royal Astronomical Society announced Monday that an object called 1I/2017 (‘Oumuamua) – the first confirmed asteroid known to have journeyed here from outside our solar system – most likely came from from a binary star system, or two stars orbiting a common center of gravity, EarthSky reported ... They looked at how common these star systems are in the galaxy ... ....

Uber announced on Monday that it was pulling all of its self-driving cars from public roads in Arizona and San Francisco, Toronto, and Pittsburgh after a female pedestrian was reportedly killed after being struck by an autonomous Uber vehicle in Tempe, according to The Verge.&nbsp; ... “We are fully cooperating with local authorities in their investigation of this incident.” ... "Some incredibly sad news out of Arizona....

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The company has finally announced its hotly anticipated next project — an anthology of three short films, one with a Japanese director and two with a Chinese director ...CWF is teaming with Shanghai-based anime production company Haoliners for the project, its first collaboration with a Chinese company ... Kawaguchi said the success can be attributed to his studio “always taking our relationship with Chinese fans seriously.”....

Global luggage maker Samsonite International SA plans to launch its own e-commerce website while expanding its bricks-and-mortar retail presence in the Chinese mainland to increase direct-to-consumer sales. It will also cooperate with more Chinese designers to cater to the increased aesthetic demands of Chinese consumers ... Thus, what we do here influences the Chinese consumers buying outside of China," he added....

The Chinese pantry cannot do without them, says Pauline D Loh. To the Chinese, food is medicine ... It is only in the past 30 years that animal protein has played an increasingly large role in Chinese diets, a departure from the traditional daily meals where meat was frugally used as flavoring ... Just as Indian vegetarian food depends a lot on lentils and pulses, the Chinese pantry cannot do without beans....

Now preparing to helm his fourth Chinese feature in four years, the veteran filmmaker talks life in Beijing and why making Hollywood-style movies in the Middle Kingdom is about more than just "turning hamburgers into noodles.". For veteran Hollywood filmmaker turned Beijing transplant Renny Harlin, Chinese-language moviemaking has become much more than just a fleeting infatuation....

BEIJING (AP) — ChinesePresidentXi Jinping has struck a stridently nationalistic tone in his closing address to the annual session of the ceremonial parliament at which term limits on his rule were abolished ... He said Chinese are “closer now ......

Yes, the Chinese could counter Trump tariffs with restrictions on aircraft, cars and soybeans. But if I were Xi Jinping and the Chinese, I would take a different approach. I would limit Chinese students, tourists and real estate investment, sowing additional discord into the United States... ....